Abstract
The two greatest elements of traditional Japanese theater’s architectural history are the Noh stage and Kabuki theater. The characteristics of these two art forms are the Hashigakari of Noh theater and Kabuki’s Hanamichi. Neither plays a major role in the acting of their respective arts; however, both play extremely important roles regarding the relationship between the actors and the audience, and in the relationship of space and time of these traditional Japanese performing arts. This chapter reflects on the creation of these two elements and considers the flexibility that encompassed conflicting elements and pushed the theatrical space to the next step, along with both the opposing tendencies of loyalty to tradition and innovation in the format created.
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Notes
- 1.
The most important and largest Buddhist memorial service held at Shitenno-ji Temple in memory of Prince Shotoku on the anniversary of his death. It is believed this memorial service has one thousand and some hundreds of years of history, and it is reminiscent of truly grand services that used to take place in which Bugaku and Buddhist memorial services became one.
- 2.
One of the most ancient spatial formations of a temple; called the Shitenno-ji style.
- 3.
Ceremony held to commemorate the anniversary of the founding of Sumiyoshi Taisha. Bugaku is performed on a Ishibutai after a ceremony in which a Tamagushi made of leaves of Utsugi (Deutzia) is dedicated to the gods.
- 4.
Matsuoka (2002) explains what role Kanjin performance had and how it developed during the medieval period.
- 5.
This performance that brought together the Shogun, court nobles and Daimyo in lavish dress at the riverside where Kamogawa and Takanogawa meet (Tadasugawara) is brought up as the second lavish spending of the Shogun Yoshimasa in “Onin Ki” (the author and date of publication is unknown, but this document details the internal disputes of the Kanrei family and the family of Ashikaga Shogun in regard to the Onin War).
- 6.
Yoshimasa Ashikaga (1436–1490): the sixth Shogun Yoshinori was aiming for autocracy when he was assassinated by guards who were trying to maintain the Shukuro system. Yoshikatsu, the next in line for Shogun, died suddenly at a tender age, so Yoshimasa, who was born to a different mother than Yoshikatsu, became Shogun. He pursued performing arts and garden-making as if to escape the confusion of politics, and at the same time as being the father of Higashiyama culture, he is believed to have been one of the reasons for the Onin War.
- 7.
There are opposing view to this like that of Amano (2010).
- 8.
- 9.
Zeami (1363–1443): Noh actor of early Muromachi era. He contributed to the progress in artistic quality of Noh with his father, Kanami, and the support of Shogun Yoshimitsu Ashikaga. He developed Noh that used to be primarily a form or impersonation into Mugen-Noh centered in song and dance, and left roughly 50 songs for Noh performance. He also left many writings of Noh including “Fushi Kaden (Kaden Sho).”
- 10.
Shisei Kanze Daifu, son of Shiro who is young brother of Zeami , and split off from Kanzeza.
- 11.
This is believed to be the oldest remaining folding screen of “Rakuchu Rakugai Zu Views Around the City of Kyoto”, picturing the views in around 1520–1530. (National Museum of Japanese History archives)
- 12.
The roots are said to go back to 869, eleventh year of Jogan in the Heian era. The performance used to last seven days, but today, there are two days. The first is for “Shushi Hashiri no Gi” and “Nandaimon no Gi”. The second day is for “Gosha Nobori no Gi” and “Nandaimon no Gi”.
- 13.
The stage for Takigi Noh used to be coved in just grass. Currently, there is a Shosadai-style stage.
- 14.
Yokomichi (1986) wrote about this in detail.
- 15.
This was one of the Densha of the Dairi, which was the private residence of the Emperor. However, during and after the mid-Heian era, this main hall was used for important ceremonies such as Sokui no Rei and Sechie. The Shishinden had a stronger public importance when compared to the Seiryouden in which the Emperor lived.
- 16.
Gunbu-style song and dance that was imported from China between the Nara and Heian eras. It merged with the Utagaki, which was present from ancient times, and became popular after being tailored to Japanese taste. From the seventh year of the Jitou era (693) onwards, men and women who excelled at song and dance were invited to the Imperial court in order to celebrate New Year. Later, men and women performed separately, and eventually became Onna Toka (dance performed by women only).
- 17.
A wooden framework on which one to two people would fit was placed on top of the Kido wicket door (entrance). A drape with the Zamon emblem dyed on it encircled this, and Gohei and spears were placed on top. This is where the taiko drummers performed to advertise the show. The scaffolding was proof that the playhouse theater was authorized by the authorities.
- 18.
In modern times, this wicket door was created for audience members to crouch through, in order to prevent nonpaying individuals from enjoying performances held at the playhouse theater.
- 19.
A passageway and performing space running from the stage through the audience.
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Motosugi, S. (2017). Ma in Traditional Japanese Theater: The Ma of Space and Ma of Time. In: Kodama, M. (eds) Ma Theory and the Creative Management of Innovation. Palgrave Macmillan, New York. https://doi.org/10.1057/978-1-137-59194-4_9
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